Roger Ebert rogerebert.com

Female Filmmakers in Focus: Grace Glowicki on “Dead Lover”

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Across 50 Seasons, “Survivor” Reflects Evolving Views of American Women

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How “The Testament of Ann Lee” Subverts Cinema’s Lineage of Cult Leaders

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A Case of Identity Crisis: “Young Sherlock” Suffers From Too Many Ideas

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The Mysteries of Dorothy Vallens: On Isabella Rossellini in “Blue Velvet”

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An Anatomy of a Fleece: Why ‘Heated Rivalry’ Fans Have Latched Onto its Very Canadian Jacket

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Skill and Dedication: Nelson Pressley on Fonda on Film: The Political Movies of Jane Fonda

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Long Live Bonnie Bennett, the Real Star of “The Vampire Diaries”

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Reflections on Nuremberg: Lessons on Evil

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“Hush” is the Best Horror Movie You Probably Haven’t Seen

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The Artistic Exploration & Wit of Charli xcx

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“RJ Decker” Successfully Brings Whimsy to Network Procedural

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“The Bronze” at 10: How a Washed-Up Gymnast Became a Cult Antihero

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Joan Cusack: Best Supporting Energy

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Introduction to Women Writers Week 2026

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Home Entertainment Guide February 2026: “Predator: Badlands,” “Song Song Blue,” “A Little Prayer,” More

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Berlinale 2026: A Politicized Festival with Great Political Cinema

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The Play’s the Thing with MGM+’s Charming Ode to the Theater, “American Classic”

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Ebertfest Unveils Initial Slate for Final Festival, “The Last Dance”

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Twisty, Funny HBO’s “DTF St. Louis” is an Addictive Watch

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